About images: the invisible technology and the transparency of the spectacle
The aim of this paper is to propose a reflection about images in thecontemporary media. As a starting point, we have the interpretive model of Gianni Vattimo to the massive presence of the media in postmodern society. His positive attitude, developed in the Transparent Society (1992) is opposed to t...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2011 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Em Questão (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:seer.ufrgs.br:article/22132 |
| Acceso en línea: | https://seer.ufrgs.br/index.php/EmQuestao/article/view/22132 |
| Access Level: | acceso abierto |
| Palabra clave: | Imagem. Comunicação. Tecnologia. Pós-modernidade. Imagem Tecnologia Imagen. Comunicación. Tecnología. Posmodernidad. Image. Communication. Technology. Postmodernity. |
| Sumario: | The aim of this paper is to propose a reflection about images in thecontemporary media. As a starting point, we have the interpretive model of Gianni Vattimo to the massive presence of the media in postmodern society. His positive attitude, developed in the Transparent Society (1992) is opposed to the pessimistic attitude of Guy Debord in the Society of the Spectacle (1967). It is suggested that contemporary imagery productionand diversification of the aesthetic experience of the subject determine a scenario in which the image gets much more aware of the aspects that alienating. There is also the influence of hybrid devices that bring morelogical operational simplified, making it invisible technologies that ensure the aesthetic enjoyment promoted by images. |
|---|